Art Dealers Association of America

Signed in pencil on verso

Adriana Marmorek RENDEZVOUS PLATINUM, 2020 blown glass, porcelain painted platinum 1.97 x 10.24 x 8.27 in. 5 x 26 x 21 cm.

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper 10 1/2 x 7 7/8 " 26.67 x 20 cm AP2

hand-painted metal with oil paint on metal armature text by Tom Sleigh: BLUEPRINT - 2007 I had a blueprint of history in my head — it was a history of the martyrs of love, the fool...

BETH LIPMAN CLUSTER #21, 2021 black glass, adhesive 6 x 12 x 10 in. 15.2 x 30.5 x 25.4 cm.

Oil painting of a mime and a mother and child dark

LESLEY DILL ONLY, 2004 bronze, paint, ink, wire, thread 58 x 19 x 14 in. 147.3 x 48.3 x 35.6 cm.

Anastasia Samoylova b. 1984 Garden, Micanopy, 2020 Signed in ink on artist label Archival Pigment Print 16" x 20" Edition 3 of 5 plus 2 AP

mixed media and collage on cardboard. Depiction of Butterfly Fantasy

signed, titled and dated by artist in pencil on verso

serigraph, Edition of 100 image of abstract flower from KINETIC PORTFOLIO

In Love is in the Air, Ruiz addresses the politically charged issue of fumigating poppy fields with a deeply human and spiritual tone. This series contrasts the striking beauty of p...

inkjet print of imaginary creature called an INKLING Edition 1/8

Signed in pencil on verso; Stamped with photographer's copyright on verso Gelatin Silver Print Paper: 16" x 20", Mat: 20" x 24"

Wartime Terminus, Paddington Station, London (Woman Waving Farewell) Signed in ink on recto. Artist's stamp on verso.

Signed (at lower right): A. Weiskopf

Looking at a painting by Colin Hunt is like watching someone pass through a hole in our consciousness. As the landscape refracts through the sitter’s absence and fills that emptiness...

JULIE HEDRICK YELLOW TARA #2, 2021 oil on canvas 12 x 12 in. 30.5 x 30.5 cm.

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

Angela Fraleigh Through the half-drowned stars, 2015 oil, ink, and synthetic resin on canvas 66 x 90 x 2 in (167.6 x 228.6 x 5.1 cm) Angela Fraleigh (born 1976, Beaufort, SC) earned...

Timothy Rees was fascinated with drawing throughout his youth and after high school pursued a degree in animation. The pull to painting portraits and figures was strong, however, leading him to learn the craft in the open studios of the Palette and Chisel...

Marc Swanson I believe I have everything I need, 2017 graphite and collage on paper 17 x 14 in (43.2 x 35.6 cm) paper size 24 7/8 x 21 7/8 x 1 1/2 in (63.2 x 55.6 x 3.8 cm) frame s...

Signed, titled, dated and numbered in ink on recto Gelatin Silver Print Paper - 11"x14", Matted - 16"x20

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Signed in ink on verso Vintage gelatin silver print Image: 8-1/2" x 12-1/2", Paper 11" x 14", Matted: 16" x 20"

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

Karsh is a master 20th Century photographer. Karsh is known for his portraits of authors, scientists, artists, statesmen, musicians, and other dis...

Edition of 15 (includes all sizes). Signed, titled, dated and editioned on frame label provided. Final shipping costs will depend on the size of the print ordered, and whether it is ...

15 x 15 archival pigment print, framed, edition 8. Signed, titled, dated and editioned on frame label provided. In this latest body of work, Simone Rosenbauer continues her series "...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Pentti Sammallahti Numazama Lake, Fukushima, Japan 2005 Gelatin Silver print

mixed media collage (ink, found objects, acrylic) in acrylic box. Edition 20/75

oil painting on gessoed paper. trees, nature, green, landscape

Robert Stivers Dream (Bed) 2001 Gelatin silver print

Signed and dated (at lower right): Randall Exon '20

Laura Letinsky Untitled #4, Guild Hall, 2013 Archival pigment print Edition of 7 Image: 37 1/2 x 29 5/8 inches Paper: 48 x 39 1/2 inches

Signed in ink on recto; titled & dated in pencil on verso Gelatin silver print Image 11" x 9-1/2", Paper 16" x 12", Matted 20" x 16"

abstract still life painting in ink on canvas. blind contour drawing colorful

signed, titled and dated by artist in pencil on verso

Vintage Hand Colored Albumen print

Signed, titled, dated in ink on photographer's label. Archival pigments on tea infused Japanese Kozo paper Image: 17 1/2" x 11 3/4", Frame: 21" x 15" Edition 2 of 7

Signed, titled, dated in ink on photographer's label. Archival pigments on Kozo paper Image: 11 3/4" x 8 3/4", Frame: 15 1/8" x 12 1/4" Edition 2 of 10

LESLEY DILL A DIAGRAM OF RAPTURE, 2020 Hand-cut paper collage and ink on gampi asian paper 12 x 14 1/2 in. 30.5 x 36.8 cm.

Signed in pencil on Verso Gelatin silver print Image: 22 1/2" x 15, Paper: 24" x 20, Matted: 24" x 30"

Signed, titled, dated in ink on photographer's label. Archival Pigments on unwashed Kozo Paper 23 x 28 cm Edition 1 of 10

From the time he was four years old Max Hammond was destined to paint, as he began on the walls of his home, a budding muralist. As he ran along the edges of the salt marshes of the ...

Signed, titled, numbered and dated in ink on photographers label. Archival pigments on Kozo paper Image/Sheet: 12" x 9" Edition of 10

Oil on linen, 20 x 26 in.

portrait painted in acrylic on canvas.

mixed media and collage on cardboard. butterfly forest

Imogen Cunningham was an American photographer known for her botanical photography, nudes, and industrial landscapes. Cunningham was a member of the California-based Group f/64, know...

[to avoid being forced to fight in the civil war. Heading for the refugee camps of northern Kenya, Southern Sudan]

signed, titled and dated by artist in pencil on verso

aquatint and embossing on paper. plate 19 3/4 x 13 3/4 in. paper 30 3/4 x 23 in.

signed, titled and dated by artist in pencil on verso

Signed and dated (at lower right): L; (on verso): D. Ligare / 2014

Lambda print, mounted on aluminum with glossy laminate of still-life with grapes Edition of 3